Part 43

_Musical instruments._--The only musical instrument in use among these people is the universal drum[N505] or tambourine (kĕlyau), consisting of a membrane stretched over a hoop with a handle on one side, and used from Greenland to Siberia. It is always accompanied by the voice singing or chanting. The player holds the handle in his left hand with the membrane away from him, and strikes alternately on each side of the rim with a short heavy piece of ivory, or a long slender wand, rotating the drum slightly at the same time to meet the stroke. This produces a loud, resonant, and somewhat musical note. There appears, however, to be no system of tuning these drums, the pitch of the note depending entirely on accident.

[Footnote N505: Nordenskiöld calls this “the drum, or more correctly, tambourine, so common among most of the Polar peoples, European, Asiatic, and American; among the Lapps, the Samoyeds, the Tunguses, and the Eskimo.” (Vega, vol. 2, p. 128).]

We collected four of these drums, of which every household possesses at least one. They are all of essentially the same construction, but vary in size. No. 56741 [79], Fig. 383, has been selected as the type. The frame is a flat strip of willow 67 inches long, 1 inch wide, and 0.3 inch thick, bent till the two ends meet, thus making a hoop 22.2 inches long and 19 inches wide. The ends are fastened together by a strap of walrus ivory on the inside of the hoop, secured to the wood by neat stitches of black whalebone. The handle is of walrus ivory 5.2 inches long. The larger end is rather rudely carved into a human face. Back of this head and 1 inch from the large end of the handle is a square transverse notch, deep and sufficiently wide to fit over both rim and strap at the joint. It is held on by a lashing of sinew braid passing through holes in rim and strap, one on each side of the handle, and a large transverse hole in the latter, below and a little in front of the notch. The membrane, which appears to be a sheet of the peritoneum of a seal, is stretched over the other side of the hoop, which is beveled on the outside edge, and its edge is brought down to a deep groove 0.2 inch from the edge of the hoop and 0.3 inch wide, running round the hoop, where it is secured by three or four turns of sinew braid. The end of this string is crossed back and forth four or five times round the handle, where it is fitted to the hoop and then wrapped around it and finished off with a knot.

No. 56742 [514], from Utkiavwĭñ, is a similar drum, but somewhat larger, the hoop being 24.6 inches long and 22 inches wide. It is of the same materials, except that the strap at the joint is of reindeer antler. Opposite the joint the hoop appears to have shown signs of weakness, as it has been strengthened with two straps of walrus ivory, one on the inside and one on the outside of the hoop, fastened together by stitches of sinew which pass through the wood and through both straps. The inside strap is 4.7 inches long, the outer 3.5 inches long, and only half the width of the rim, and is let into the latter. This strap appears to have been put on first, as at each end there is a stitch which only runs through the wood. The handle is fastened on as before, but has two transverse holes instead of one, and has four deep rounded notches for the fingers. (See Fig. 384.) The joint is tightened by driving a thin sliver of wood in at the bottom of the notch.

No. 56743 [31], from Utkiavwĭñ, closely resembles the type, but has a notch for the thumb as well as for the forefinger on the handle. The hoop is 23.5 inches long and 21 wide. No. 56740 [80] from the same village is rather smaller than the ordinary drums, having a hoop 16.2 inches long and 14.7 wide. The handle is of antler, but has the usual face on the large end.

We also brought home eight handles for these drums, which exhibit but slight variations. The commonest material for the handle is walrus ivory. Only two out of the twelve are of antler. They are usually about 5 inches long (the longest is 5.4 inches and the shortest 4.6). Handles with grooves for the fingers and sometimes for the thumb seem to be quite as common as the plain handles. Fig. 385_a_ represents an ivory handle from Nuwŭk (No. 89267 [898]), which has a groove for each finger and a shallow one on the right side for the thumb. It is 5 inches long.

With one exception all these handles have the large end more or less neatly carved into a human face, with the mouth open as if singing, probably from an idea similar to that which makes the decorative artists of civilized countries ornament the pipes of a great organ with singing faces. This face is usually in the position shown in the specimens figured, but No. 89266 [784] (Fig. 385_b_), a handle of antler from Utkiavwĭñ, has the axis of the face parallel to that of the handle. Nos. 89269 [975] and 56515 [76], both from Utkiavwĭñ, are peculiar in their ornamentation. They are both of walrus ivory. The former has a well-carved face at the large end with small blue beads inlaid for eyes. In addition to this the small end has been rather freshly carved into a rather rude seal’s head, and an ornamental pattern has been incised round the middle. This specimen exhibits the grooves for the fingers very well. The latter is a plain handle, but has a little sharp tusk inserted at each corner of the mouth. The only handle without a human face on the large end (No. 56514 [65] Fig. 385_c_, from Utkiavwĭñ) is peculiar in many respects. It is the butt end of a small walrus tusk, with a large pulp cavity, the edges of which are much notched and irregularly broken. The notch for fitting it to the handle is at the smaller end, which is neatly carved into a very good figure of a walrus head, with the tusks bent back to the under side of the handle. The head has oval bits of wood inlaid for eyes. None of the drums or handles in the collection are newly made.

The stick employed for beating these drums is commonly a slender elastic wand about 2½ feet long, but they also sometimes use a short thick stick of ivory resembling that used by the eastern Eskimo.[N506] We brought home two of these sticks, both of which belong with the drum No. 56743 [31]. Fig. 386_a_ (No. 56540 [31]) is a roughly cylindrical rod of ivory with a hole for a lanyard. The larger end is ornamented by rudely incised and darkened lines which represent the eyes and outline of the mouth of a “bow-head” whale. Fig. 386_b_ (No. 56540 [31_a_]) is a plain round stick of ivory 9.4 inches long. It is rather roughly made and somewhat warped. The use of the long stick is perhaps derived from Siberia, where the short thick stick does not appear to be used.[N507]

[Footnote N506: See, for example, Bessell’s Naturalist, vol. 18, pt. 9, p. 881. (The people of Smith Sound use the femur of a walrus or seal. Cf. Capt. Lyon’s picture, Parry’s 2d Voyage, pl. opposite p. 530, and Gilder, Schwatka’s Search, p. 43, where the people of the west shore of Hudson Bay are described as using a “wooden drumstick shaped like a potato-masher.”)]

[Footnote N507: See Hooper, Tents, etc., p. 51, and Nordenskiöld, Vega, vol. 2, pp. 23 and 128; figure on p. 24.]

Holes in the membrane of the drum are sometimes mended with pieces of the crop of the ptarmigan. At any rate, this is what I was told by a native, who begged from me the crops of two of these birds that I was skinning, saying that he wanted them to mend his drum. These drums are always beaten as an accompaniment to invocations of spirits or incantations. This practice is so common that some authors are in the habit of always speaking of them as “shaman drums”. As I have already stated, their most common use is purely as a musical instrument, and they are used not only by the so-called “shamans” but by everybody.

_Character and frequency of music._--Their music consists of monotonous chants, usually with very little perceptible air, and pitched generally in a minor key. I could not perceive that they had any idea of “tune,” in the musical sense, but when several sang together each pitched the tune to suit himself. They, however, keep excellent time. The ordinary songs are in “common” or 4/4 time.[N508] The words are often extemporaneous, and at tolerably regular intervals comes the refrain, “A yáña yáña, a yáña ya,” which takes the place of the “ámna aja” of the eastern Eskimo. Sometimes, when they are humming or singing to themselves, the words are nothing but this refrain. Their voices, as a general thing, are musical.

[Footnote N508: Compare Crantz, vol. 1, p. 176.]

Like all Eskimo, they are very fond of music, and are constantly singing and humming to themselves, sometimes, according to Capt. Herendeen, waking up in the night to sing. Besides their regular festivals they often amuse themselves in their houses by singing to the drum. They are fond of civilized music, and, having usually very quick and rather acute ears, readily catch the tunes, which they sing with curiously mutilated words. We found “Shoo Fly” and “Little Brown Jug” great favorites at the time of our arrival, and one old woman from Nuwŭk, told us with great glee, how Magwa (Maguire) used to sing “Tolderolderol.” Our two violins, the doctor’s and the cook’s, were a constant source of delight to them.

Capt. Parry[N509] gives an excellent account of the music of the people of Fury and Hecla Straits.[N510]

[Footnote N509: 2d Voyage, p. 541.]

[Footnote N510: See also the passage from Crantz, quoted above; Dall, Alaska, p. 16; and Nordenskiöld, Vega, vol. 2, pp. 23 and 130.]

I regret extremely that I was not enough of a musician to write down on the spot the different tunes sung by these people. The ordinary monotonous chant is so devoid of air that I can not possibly recollect it, and the same is true of the chant which accompanies the game of pebble-tossing. I was able, however, to catch by ear the song sung by the children when they dance to the aurora. I never had the whole of this song, which we were told had a large number of stanzas. The first three are as follows:

1. Kióya ke, kióya ke, A, yáñɐ, yañɐ, ya, Hwi, hwi, hwi, hwi!

2. Túdlĭmaná, túdlĭmaná, A yáñɐ, yañɐ, ya, Hwi, hwi, hwi, hwi!

3. Kálutaná, kalutaná, A yáñɐ, yáñɐ, ya, Hwi, hwi, hwi, hwi!

We did not succeed in learning the meaning of these words, except, of course, that the first word, kióya, is aurora. When there is a bright aurora, the children often keep on dancing and singing this song till late into the night. A tune was introduced in the spring of 1883 by a party of men from Kĭlauwĭtáwĭñ, who came up to take part in the whale-fishing at Utkiavwĭñ. It became at once exceedingly popular, and everybody was singing or humming it. It is peculiar in being in waltz or 3/4 time, and has considerably more air than the ordinary tunes. I heard no words sung to it except: “O hai hai yáña, O hai yáña, O haíja he, haíja he.” Mr. Dall informs me that he recognizes this tune as one sung by the Indians on the Yukon.

ART.

The artistic sense appears to be much more highly developed among the western Eskimo than among those of the east. Among the latter, decoration appears to be applied almost solely to the clothing, while tools and utensils are usually left plain, and if ornamented are only adorned with carving or incised lines.[N511] West of the Mackenzie River, and especially south of Bering Strait, Eskimo decorative art reaches its highest development, as shown by the collections in the National Museum. Not only is everything finished with the most extreme care, but all wooden objects are gaily painted with various pigments, and all articles of bone and ivory are covered with ornamental carvings and incised lines forming conventional patterns.

[Footnote N511: See the various accounts of the eastern Eskimo already referred to.]

There are in the collections also many objects that appear to have been made simply for the pleasure of exercising the ingenuity in representing natural or fanciful objects, and are thus purely works of art. Want of space forbids any further discussion of these interesting objects. There is in the Museum sufficient material for a large monograph on Eskimo art. As would naturally be expected, art at Point Barrow occupies a somewhat intermediate position between the highly developed art of the southwest and the simple art of the east. I have given sufficient figures in my description of their clothing and various implements to illustrate the condition of purely decorative art. A few words may be added by way of résumé. It will be noticed that whenever the bone or ivory parts of weapons are decorated the ornamentation is usually in the form of incised lines colored with red ocher or soot. These lines rarely represent any natural objects, but generally form rather elegant conventional patterns, most commonly double or single borders, often joined by oblique cross lines or fringed with short, pointed parallel lines.

A common ornament is the incised “circle and dot,” so often referred to in the foregoing descriptions. This is a circle about one-quarter inch in diameter, described as accurately as if done with compasses, with a deeply incised dot exactly in the center. This ornament is much more common south of Bering Strait, where, as Mr. L. M. Turner informs me, it is a conventionalized representation of a flower. Some of the older implements in our collection, ornamented with this figure, may have been obtained by trade from the southern natives, but the Point Barrow people certainly know how to make it, as there are a number of newly made articles in the collection thus ornamented. Unfortunately, we saw none of these objects in the process of manufacture, as they were made by the natives during odd moments of leisure, and at the time I did not realize the importance of finding out the process. No tool by which these figures could be made so accurately was ever offered for sale.

Neither Mr. Turner nor Mr. Dall, both of whom, as is well known, spent long periods among the natives of the Yukon region, ever observed the process of making this ornament. The latter, however, suggests that it is perhaps done with an improvised centerbit, made by sticking two iron points close together in the end of a handle. While weapons are decorated only with conventional patterns, other implements of bone or ivory, especially those pertaining to the chase, like the seal drags, etc., already mentioned, are frequently carved into the shape of animals, as well as being ornamented with conventional patterns. Carvings of animals’ heads usually have the mouth, nostrils, etc., indicated by blackened incisions, and often have small, colored beads, bits of wood, or ivory inlaid for the eyes. When beads are used, the perforation of the bead is generally made to represent the pupil of the eye. Beads were also used for ornamenting dishes and other wooden objects.

The harpoon blade boxes of wood carved into the shape of the animal to be pursued have been already described. Other wooden objects, like the shafts of lances, and arrows, paddles, boxes, dishes, the woodwork of snowshoes, sledges, umiaks, etc., are frequently painted either all over, or in stripes or bands. The pigment generally used is red ocher, sometimes set off with stripes of black lead. The only case in which a different pigment is used is that of some arrows from Sidaru, which, in addition to the usual black or red rings, have a rather dingy green ring round the shaft. This green looks as if it might have been derived from the “green fungus or _peziza_,” mentioned by Dall as in use among the ancient Aleuts.[N512] The red ocher is applied smoothly in a rather thin coat which looks as if it were always put on in the manner observed by Capt. Herendeen, who saw a man painting a new sled at Utkiavwĭñ. He licked the freshly scraped wood with his tongue, so as to moisten it with saliva and then rubbed it with a lump of red ocher. The custom of painting wooden objects with red ocher seemed to be rather more common among the “Nunatañmiun,” from whom perhaps the Point Barrow people borrowed the fashion, which is not mentioned among the eastern Eskimo. Nordenskiöld states that red is the favorite color among the natives of Pitlekaj.[N513]

[Footnote N512: Contributions to N. A. Ethn., vol. 1, p. 86.]

[Footnote N513: Vega, vol. 2, p. 135.]

The painting of the arrow shafts in many cases curiously resembles the marks used by modern archers to distinguish the ownership of their shafts, and may have formerly served the same purpose. We made no inquiries about the matter on the spot, and there is no certain evidence in the series of arrows collected that these are or are not marks of ownership. Some arrows, apparently the property of the same man, have different marks, while arrows from different villages are similarly marked. On examining our series of fifty arrows from the three villages (fourteen from Nuwŭk, twenty from Utkiavwĭñ, and sixteen from Sidaru) it will be seen that the commonest style of painting is to have the shaft painted red from the beginning or middle of the feathering to about one-fifth of its length from the head. Twenty arrows are marked in this way--eleven from Nuwŭk, belonging to at least two distinct sets, and nine from Utkiavwĭñ, belonging to three sets. Nine have about 8 inches of the middle of the shaft painted red, with a black ring at the middle of the feathering. Seven of these are from Sidaru, one from Nuwŭk, and one from Utkiavwĭñ. Five from Sidaru have a red ring round the middle, and a green one about the middle of the feathering, and four of the same set have also a red ring in front of the green one. Three from Utkiavwĭñ, belonging to different sets, have the shaft painted red from the middle to the beginning of the feathering, and three red rings 2 inches from the nock. Seven belonging to these sets from the two northern villages are unpainted.

A set of two small arrows which belong with the boy’s bow No. 89904 [786] are peculiar in their marking. About 5½ inches of the middle of the shaft is painted red, there is a black ring round the middle, and a black spiral running the whole length of the feathering.

The only decorative work in metal is to be seen in the pipes and their accompanying picks and fire steel which have already been described.

In addition to these illustrations of decorative art, we brought home a series of seventy-nine objects which may be considered as purely works of art without reference to decoration. Some of the older objects in this series perhaps also served the purpose of amulets or charms,[N514] but a number of the new ones were made simply as works of fancy for sale to us. These objects are all carvings of various materials, sometimes very rude and sometimes very neatly finished, but in most cases even when rudely made highly characteristic of the object represented.[N515] Walrus ivory, usually from the tusks, but sometimes from the teeth, is the commonest material for these carvings. Thirty-six of the series are made of this material, which is very well suited for the purpose, being worked with tolerable ease, and capable of receiving a high finish. Soapstone, from the ease with which it can be cut, is also rather a favorite material. Seventeen of these carvings are made of soapstone, in many cases evidently pieces of an old lamp or kettle. Other mineral substances appear to be rarely used. Three images, all made for sale and by the same hand, are of soft white gypsum and one tiny image of a bear is rudely flaked out of gray flint. (There are in the collection a number of rude images of whales, made by flaking from flint, jasper, and glass, but as these were ascertained without doubt to be amulets, they will be described under that head.) Eleven are made of wood, nine of bone, one of antler, and one of the tooth of the polar bear. Twenty-three of these carvings represent human beings, sometimes intentionally grotesque and caricatured; twenty-one, bowhead whales; fourteen, polar bears; five, seals; three, walruses; one, a beluga; one, a fish; and seven, fanciful monsters. Four are ornamented objects made for sale; not, strictly speaking, images.

[Footnote N514: Compare Nordenskiöld, Vega, vol. 2, p. 126 and Rink, Tales, etc., p. 52.]

[Footnote N515: Compare Bessels, Naturalist, vol. 18, No. 9, p. 880, where he speaks of finding among the people of Smith Sound ivory carvings representing animals and human figures “exceedingly characteristic.” (See also Fig. 21 of the same paper.)]

Six of the representations of the human face or figure are of wood, and with one exception were all freshly made for sale. Fig. 387 represents the only antique specimen of this kind (No. 56496 [655]). This was found among the débris in one of the old ruined houses in Utkiavwĭñ by Lieut. Ray, and is very old, blackened, and dirty. The carving was evidently done with a blunt instrument, probably a stone tool. This specimen, which was perhaps the head of a doll, is 7.1 inches in total length, with a head 3.4 inches long. We saw no similar object of modern construction.

Figs. 388_a_ and 388_b_ (Nos. 89726 [1192] and 89727 [1193], from Utkiavwĭñ) are a pair of rather roughly whittled human figures, a man and woman, respectively, both without clothes (except that the woman has a black-lead mark round the calf of each leg to indicate the tops of the boots). They were made for sale, and are perhaps unfinished dolls. The man (No. 89726 [1192]) is 11 inches long and tolerably well proportioned, except about the feet, which are very clumsily made. The eyes and mouth are incised and the hair colored with black-lead. The woman (No. 89727 [1193]) is a very similar figure, but only 9.2 inches long. She has prominent breasts, and her legs are shorter in proportion than the man’s.

No. 89725 [1185], from Utkiavwĭñ, is a clumsy image of a man, rudely whittled out of a flat, hardwood stick, 7¼ inches long. The body and legs are long, the latter somewhat straddling, with clumsy feet. The outstretched arms are very short and stumpy. It has been painted all over with a thin coat of red ocher, and the legs and feet have a coat of black lead over this. The hair also is marked out with black lead, and a small opaque white bead is fastened with a peg to the middle of the breast. This image was made for the market.

No. 56495_a_ [203], from Utkiavwĭñ, is of a pair of very rude images, also made solely for the market. Each is 8 inches long, and is merely an oblong piece of board, flat and rough on the back, roughly beveled from the middle to each side in front. One end is surmounted by a rather rudely carved human head, with the features in relief and the eyes and mouth incised. The eyebrows are marked out with black lead, and there is a longitudinal line of black lead down the middle of the front.